4.Riding the Stock Car to Sleep in the Stables: Migrant Agricultural Labor and Songs of Rebellion

Diana Garvin February 21, 2021 Issue: g/s/i 7 (2020) Category: Themed Section

by Diana Garvin

Under Mussolini’s dictatorship, both the physical abuses of a misogynist state and the political power of female friendship were written in the sensory details of agricultural workers’ everyday lives. This article uses archival and melodic evidence from the sensorial world of interwar Italy to explore four interlinked case studies, ultimately revealing what is at stake in women’s work songs. First, written testimonials and transcriptions from oral interviews show that, for many mondine,

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5.Addressing Each Other’s Eyes Directly: From Adriana Cavarero’s “Relating Narratives” to Elena Ferrante’s Intersectional Ethics of Narrative Relations

Loredana Di Martino February 21, 2021 Issue: g/s/i 7 (2020) Category: Themed Section

by Loredana Di Martino

Narratives that provide honest portrayals of women’s relationships appear to be very popular at the moment. This may seem as nothing new since feminist authors have recast female friendship as a potential site of subversion at least since the seventies. However, as critics have highlighted, it is particularly since the eighties and nineties that representations of ambivalent female relations have become more prominent, mostly as a result of the influence of intersectional and decolonial theories such as those pioneered,

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6.Rural Italy in Feminist Writing: Dialogism, Polyphony, and Heteroglossia in Armanda Guiducci’s La donna non è gente

Viviana Pezzullo February 21, 2021 Issue: g/s/i 7 (2020) Category: Themed Section

by Viviana Pezzullo

Armanda Guiducci’s La donna non è gente (1977) is a volume collecting related autobiographical narratives in which collaboration is the result of the dialogic, polyphonic, and heteroglot relationship between Guiducci and the women narrators she interviews. Guiducci’s work proves how the notion of singular authorship and language of noi is inadequate to capture the diversity of women’s struggles across Italy. In La donna non è gente, the narrators–women from rural areas of north and of south Italy–embody through the alternance of Standard Italian and regional and local dialects the dialectics between urban and rural spaces.

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7. Side by Side: Female Collaboration in Ferrante’s Fiction and Ferrante Studies

Stiliana Milkova February 21, 2021 Issue: g/s/i 7 (2020) Category: Invited Perspectives

by Stiliana Milkova

This essay proposes that Elena Ferrante’s novels depict female friendship and collaboration as a literal and metaphorical positioning side by side that dislodges the androcentric, vertical hierarchies of intellectual labor, authorship, and (re)production. Further, it argues that the collaborative female practices in Ferrante’s fiction have engendered––or brought to light––collaborative female and feminist projects in Ferrante Studies and outside academia establishing a legacy of creative and authorial women. Thus a double creation of female genealogies is at work within Ferrante’s novels and in the critical field that studies them.

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8.Where Myself Ends and Yourself Begins

Veronica Mognato and Ana Treviño February 21, 2021 Issue: g/s/i 7 (2020) Category: Invited Perspectives

by Veronica Mognato and Ana Treviño

This article is about the shared experience of two visual artists that chose to collaborate on multiple projects. Their individual stories crossed in Austin, Texas, a city that has been hosting them for a few years, and were connected thanks to their similar way of seeing and living certain social mechanisms. Their first project embraces the concept of proxemics and how different cultures manage interpersonal spaces. The two artists come from different geographic zones and together,

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9.Collective Writing Projects as Sustainable Ecologies of Collaboration

Paolo Saporito February 21, 2021 Issue: g/s/i 7 (2020) Category: Invited Perspectives

by Paolo Saporito

What does it mean to engage in collaborative practices? How do these practices ensure the sustainable management of diversity we need in order to counter contemporary forms of discrimination? This paper reflects on these issues and proposes answers to these questions by analysing two case studies: the Italian writing collectives Wu Ming and Joana Karda. The two groups enact collaborative practices that deconstruct conceptual dualisms (i.e. subject/object; self/other) and question hyper-individualised conceptions of subjectivity characterising contemporary neoliberal society.

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10.Individual and Collaborative Film Studies in Italy: Legal Constraints and the Gender Balance

January 1, 1970 Issue: g/s/i 7 (2020) Category: Invited Perspectives

by Damiano Garofalo and Dom Holdaway

In this article, we offer a handful of reflections about collaborative scholarship in Italy, referring in particular to the principal public funding scheme for research—the so-called “Progetti di rilevante interesse nazionale” (PRIN), organized and financed by the Ministry for Education, Universities and Research (MIUR). We draw, moreover, on our experience working on “The International Circulation of Italian Cinema,” a project on which we both collaborated as postdoctoral researchers at different times between 2017 and 2020.

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11.My Way to Philosophy

Francesca Rigotti February 21, 2021 Issue: g/s/i 7 (2020) Category: Invited Perspectives

by Francesca Rigotti

Here, an account is provided, in autobiographical form, of the path of the author toward philosophy, as a calling, from the choice of university faculty to the first experiences as researcher, until her encounter with the theme of metaphor, true love at first sight, and beyond. You can read about the birth of her form of thought: “impertinent thought,” including the contamination of genders and the philosophy of daily life,

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12.“Per me il documentario è relazione”: The Eloquence of Found Footage and Garment Workers’ Rights in Costanza Quatriglio’s Triangle

Valeria Castelli February 21, 2021 Issue: g/s/i 7 (2020) Category: Open Contributions

by Valeria Castelli

This article examines Costanza Quatriglio’s use of found footage in Triangle (2014). This documentary film deals with the collapse of a building in Barletta in Apulia in 2011, in which four female textile workers and the factory owner’s daughter were killed. These deaths in the workplace are correlated with the notorious case of the victims of the fire at the Triangle Waist Company factory in New York in 1911. Quatriglio creatively uses found footage to persuade viewers of the similarities between the two accidents at work,

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13.Colonial Legacies in Family-Making and Family-Breaking: Carla Macoggi’s Memoirs as Semi-Autobiography

Carla Cornette February 21, 2021 Issue: g/s/i 7 (2020) Category: Continuing Discussions

by Carla Cornette

Kkeywa: Storia di una bimba meticcia (2011) and La nemesi della rossa (2012) constitute the sequential memoirs of Carla Macoggi, Ethiopian-Italian author and attorney. They recount the case of an adoption of a meticcia/mixed-race Ethiopian-Italian child by a white Italian businesswoman in the 1970s in Addis Abeba and their subsequent migration to Italy. This analysis situates race and gender at the intersection of Critical Adoption Studies and Postcolonial Theory to reveal the persistence of the colonial practices of madamato marital arrangements and the disenfranchisement of the meticci children of Italian men and indigenous women in the former colonies which culminates in the transracial,

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